"Freaky because something genuinely nice, albeit limited, is achieved."
Disney remakes itself once again: Jamie Lee Curtis and Lindsay Lohan are a mother and daughter who don’t see eye-to-eye — and not just because of the separation in their height.As the flighty shrink, Curtis approaches closer to her second marriage (it’s obviously a Disney movie, not only does the fiancé not share a bed with her, they’re not even living together yet), she and her Avril Lavigne-inspired alterna-punk-girl daughter magically switch bodies, requiring them to live a little in the other’s shoes to better understand each other. Of course this provides a bounty of opportunities for both generations to poke ribs at one another (“I look like Stevie Nicks”/ “Who’s that?” or “I’m old! I look like the Crypt Keeper”), more often siding with the younger crowd. One of the things that works well within the context of the movie is the performances of Curtis and Lohan, adapting the psychology of Cage and Travolta in Face/Off, of initially setting up their inhabited character and then shifting/shuffling/switching roles to competently retain the internal characteristics. The duo works, with Lohan believably emanating what Curtis set up, and surreptitiously, Curtis actually improving on the ossature Lohan began with. (As well it should be; Curtis, the experienced pro, has a lot more range in which to use in either personality, but Lohan is surprising for better embracing Curtis’ personality than her own.) Aside from the awkwardness of having the Lohan-aged boy interest fall for her in Curtis’ appearance, Freaky Friday remains a squeaky-clean generic romp, pat and PC, with dull supporting characters, overly diplomatic resolutions and epiphanies, and bland pop-music. It’s a weird position with Disney trying to convince itself and cash in on Lavigne’s image, and how it chooses what to deem alternatively cool (Emily Strange, The Hives, a cover of “… Baby One More Time”) but then disses a band as individual and truly alternative as The White Stripes. (This also marks an interesting trend with Disney, hiring the director of The House of Yes, Mark Waters, and Trick’s Jim Fall for The Lizzie McGuire Movie — neither of whom have displayed much skill, but both whom started off with such decidedly adult features, only to graduate to the juvenile arena.)[Worth-seeing.]